Academic literature on the topic 'Fiction theory – Possible worl'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Fiction theory – Possible worl.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Fiction theory – Possible worl"
1
Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (April 1, 2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.
Full textAbstract:
Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
2
Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, no. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.
Full textAbstract:
The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.
3
Markussen, Thomas, Eva Knutz, and Tau Lenskjold. "Design Fiction as a Practice for Researching the Social." Temes de Disseny, no. 36 (October 1, 2020): 16–39. http://dx.doi.org/10.46467/tdd36.2020.16-39.
Full textAbstract:
The aim of this paper is to contribute to a new conceptual foundation for design fiction. Much attention is dedicated to theorising how design fictions relate to our so-called actual world. This work can be seen as an attempt at securing the seriousness and legitimacy of design fiction as an approach to design research. The theory of possible worlds has proven promising in this regard. We argue, however, that a detailed understanding of design fiction is still lacking. In design fiction literature, authors often engage in critiquing techno-centric approaches while paying less attention to how design fiction has a potential to foster social change in situated actual affairs. We argue that analysis should start from the messy unfolding of the design event itself rather than from big ontological discussions of the boundaries between fiction and reality. To grasp the messiness of design fiction, we offer an interdisciplinary framework, bridging knowledge domains such as literally theory and design anthropology.
4
Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations." Storyworlds: A Journal of Narrative Studies 13, no. 2 (December 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.
Full textAbstract:
Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).
5
Fiorin, Gaetano, and Denis Delfitto. "A contextual theory of fictional names." Intercultural Pragmatics 21, no. 3 (May 15, 2024): 349–77. http://dx.doi.org/10.1515/ip-2024-3003.
Full textAbstract:
Abstract We review some of the most prominent challenges in the semantics and pragmatics of fictional names and propose a pragmatic theory of fictional names whereby understanding a fictional name requires imagining possible contexts of interpretation of the name. Similarly to other pragmatic approaches to fiction and fictional contexts, we maintain that fictional texts require that the interpreter engages in a game of pretense of sort and are, therefore, prescriptions to imagine a state of affairs that is not the real one. In contrast to these approaches, however, we propose that interpreting a fictional text does not require imagining a set of possible state of affairs where the text would be true but, rather, requires imagining a set of possible contexts where the text would be meaningful. In order to apply this framework to fictional names, we adopt a contextual theory of proper names, which we have proposed and defended in previous work.
6
Livytska, I. A. "POSSIBLE WORLD THEORY AND IMAGINARY WORLD OF FICTION: POINTS OF INTERACTION." Тrаnscarpathian Philological Studies 2, no. 14 (2020): 149–52. http://dx.doi.org/10.32782/tps2663-4880/2020.14-2.27.
Full text
7
Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.
Full textAbstract:
Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
8
Maza, Antonio José Planells de la. "The expressive power of the Possible Worlds Theory in video games: when narratives become interactive and fictional spaces." Comunicação e Sociedade 27 (June 29, 2015): 289–302. http://dx.doi.org/10.17231/comsoc.27(2015).2102.
Full textAbstract:
The philosophical concept of possible worlds (Lenzen, 2004; Lewis, 1986) has been used in literary studies and narratology (Dolezel, 1998; Eco, 1979) to define the way in which we conceive different narrative possibilities inside the fictional world. In Game Studies, some authors have used this concept to explore the relationship between game design and game experience (Kücklich, 2003; Maietti, 2004; Ryan, 2006), while Jesper Juul (2005) has studied the fictional world evoked by the connection between rules and fiction. In this paper we propose a new approach to video games as ludofictional worlds - a set of possible worlds which generates a game space based on the relationship between fiction and game rules. In accordance with the concepts of minimal departure (Ryan, 1991) and indexical term (Lewis, 1986), the position of the player character determines his/her actual world and the next possible or necessary world. Lastly, we use this model to analyse the video game The Elder Scrolls V: Skyrim and show that the possible worlds perspective provides a useful, flexible and modular framework for describing the internal connections between ludofictional worlds and the interactive nature of playable game spaces.
9
Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
Full textAbstract:
Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
10
Oatley, Keith. "Worlds of the possible." Pragmatics and Cognition 21, no. 3 (December 31, 2013): 448–68. http://dx.doi.org/10.1075/pc.21.3.02oat.
Full textAbstract:
The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate.
Dissertations / Theses on the topic "Fiction theory – Possible worl"
1
Dreshfield, Anne C. ""All are finally fictions": Fan Fiction as Creative Empowerment Through the Re-Writing of "Reality"." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/237.
Full textAbstract:
This paper examines online fan fiction communities as spaces for identity formation, collaborative creativity, and fan empowerment. Drawing on case studies of a LiveJournal fan fiction community, fan-written essays, possible world theory, and postmodern theories of the hyperreal and simulacrum, this paper argues that writing fan fiction is a definitive, postmodern act that explores the mutable boundaries of reality and fiction. It concludes that fans are no longer passive consumers of popular media—rather, they are engaged, powerful participants in the creation of celebrity representation that can, ultimately, alter reality.
2
Bréan, Simon. "La science-fiction en France de la Seconde Guerre mondiale à la fin des années soixante-dix." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040125.
Full textAbstract:
Après la Seconde Guerre mondiale, la littérature de science-fiction s’est développée en France sous la forme d’un sous-champ isolé au sein du champ littéraire, avec ses collections, ses critiques et ses lecteurs spécifiques. Cette littérature produit des univers fictionnels en tension entre la réalité conventionnelle et des états alternatifs de cette réalité, selon une modalité dénommée dans la thèse le « régime ontologique matérialiste spéculatif ». Le corpus des romans a été analysé d’abord dans une perspective diachronique, en présentant une histoire des acteurs, des structures éditoriales et des thèmes de la science-fiction en France, articulée à une réflexion sur les conditions et les perspectives d’écriture des auteurs français. Les romans ont ensuite été analysés de manière à permettre une théorisation à plusieurs niveaux de l’écriture de la science-fiction : le mot et le texte de science-fiction, les mondes fictionnels extrapolés à partir du monde réel et enfin la mémoire collective mise en place par l’ensemble des œuvres, que nous nommons le « macrotexte » de la science-fiction. Notre contribution principale à l’histoire littéraire est l’étude de la manière dont évoluent les représentations communes en science-fiction, sous la forme de paradigmes dominants successifs où les écrivains réinterprètent les images et idées de la science-fiction. Nous avons établi selon quelles modalités le corpus des romans de science-fiction fournit à l’analyse du discours narratif, à la théorie de la fiction et à l’étude de l’intertextualité, des exemples remarquables en raison des dispositifs destinés à mettre les univers de science-fiction en concurrence avec la réalitéAfter the Second World War in France, science fiction literature took the form of an isolated subaltern field within the literary field, featuring specific publishing series, critics and readership. In science fiction novels, fictional worlds are created by mixing conventional reality and alternate states of reality, a process I call “régime ontologique matérialiste spéculatif” (“speculative materialistic ontological status”). I have studied French science fiction novels first from a historical perspective, by describing the protagonists, the publishers and the themes of French science fiction, as well as by assessing how and to what end French science fiction writers wrote their novels. I have then studied these novels at several levels: how words and texts are shaped in science fiction, how fictional worlds are extrapolated from the real world and how science fiction texts generate a collective memory, which I call the “macrotext” of science fiction. Our thesis contributes to literary history by studying how the perception of science fiction gradually changes over time, each main paradigm morphing into a new one as writers adapt science fiction images and ideas to their needs. I have also pointed out how science fiction novels may prove of a keen interest to narrative discourse analysis, fiction theory and intertextuality approach, because of various devices meant to allow science fiction worlds to compete with reality
3
Bréan, Simon. "La science-fiction en France de la Seconde Guerre mondiale à la fin des années soixante-dix." Electronic Thesis or Diss., Paris 4, 2010. https://www.numeriquepremium.com/content/books/9782840508502.
Full textAbstract:
Après la Seconde Guerre mondiale, la littérature de science-fiction s’est développée en France sous la forme d’un sous-champ isolé au sein du champ littéraire, avec ses collections, ses critiques et ses lecteurs spécifiques. Cette littérature produit des univers fictionnels en tension entre la réalité conventionnelle et des états alternatifs de cette réalité, selon une modalité dénommée dans la thèse le « régime ontologique matérialiste spéculatif ». Le corpus des romans a été analysé d’abord dans une perspective diachronique, en présentant une histoire des acteurs, des structures éditoriales et des thèmes de la science-fiction en France, articulée à une réflexion sur les conditions et les perspectives d’écriture des auteurs français. Les romans ont ensuite été analysés de manière à permettre une théorisation à plusieurs niveaux de l’écriture de la science-fiction : le mot et le texte de science-fiction, les mondes fictionnels extrapolés à partir du monde réel et enfin la mémoire collective mise en place par l’ensemble des œuvres, que nous nommons le « macrotexte » de la science-fiction. Notre contribution principale à l’histoire littéraire est l’étude de la manière dont évoluent les représentations communes en science-fiction, sous la forme de paradigmes dominants successifs où les écrivains réinterprètent les images et idées de la science-fiction. Nous avons établi selon quelles modalités le corpus des romans de science-fiction fournit à l’analyse du discours narratif, à la théorie de la fiction et à l’étude de l’intertextualité, des exemples remarquables en raison des dispositifs destinés à mettre les univers de science-fiction en concurrence avec la réalitéAfter the Second World War in France, science fiction literature took the form of an isolated subaltern field within the literary field, featuring specific publishing series, critics and readership. In science fiction novels, fictional worlds are created by mixing conventional reality and alternate states of reality, a process I call “régime ontologique matérialiste spéculatif” (“speculative materialistic ontological status”). I have studied French science fiction novels first from a historical perspective, by describing the protagonists, the publishers and the themes of French science fiction, as well as by assessing how and to what end French science fiction writers wrote their novels. I have then studied these novels at several levels: how words and texts are shaped in science fiction, how fictional worlds are extrapolated from the real world and how science fiction texts generate a collective memory, which I call the “macrotext” of science fiction. Our thesis contributes to literary history by studying how the perception of science fiction gradually changes over time, each main paradigm morphing into a new one as writers adapt science fiction images and ideas to their needs. I have also pointed out how science fiction novels may prove of a keen interest to narrative discourse analysis, fiction theory and intertextuality approach, because of various devices meant to allow science fiction worlds to compete with reality
4
Raghunath, Riyukta. "Alternative realities : counterfactual historical fiction and possible worlds theory." Thesis, Sheffield Hallam University, 2017. http://shura.shu.ac.uk/19154/.
Full textAbstract:
The primary aim of my thesis is to offer a cognitive-narratological methodology with which to analyse counterfactual historical fiction. Counterfactual historical fiction is a genre that creates fictional worlds whose histories run contrary to the history of the actual world. I argue that Possible Worlds Theory is a suitable methodology with which to analyse this type of fiction because it is an ontologically centred theory that can be used to divide the worlds of a text into its various ontological domains and also explain their relation to the actual world. Ryan (1991) offers the most appropriate Possible Worlds framework with which to analyse any fiction. However, in its current form the theory does not sufficiently address the role of readers in its analysis of fiction. Given the close relationship between the actual world and the counterfactual world created by counterfactual historical fiction, I argue that a model to analyse such texts must go beyond categorising the worlds of texts by also theorising what readers do when they read this type of fiction. For this purpose, in my thesis I refine Ryan's Possible Worlds framework so that it can be used to more effectively analyse counterfactual historical fiction. In particular, I introduce an ontological domain which I am calling RK-worlds or reader knowledge worlds to label the domain that readers use to apprehend the counterfactual world presented by the text. I also offer two cognitive concepts – ontolological superimposition and reciprocal feedback – that support a Possible Worlds analysis of counterfactual historical fiction and model how readers process such fiction. In addition, I redefine counterpart theory, transworld identity, and essential properties to appropriately theorise the way readers make the epistemological link between a character and their corresponding actual world individual. The result is a fully fleshed out Possible Worlds model that addresses the reader's role by focusing on how they cognitively interact with the worlds built by counterfactual historical fiction. Finally, to demonstrate my model's dexterity, I apply it to three texts – Robert Harris' Fatherland (1992), Sarban's The Sound of his Horn (1952), and Stephen Fry's Making History (1996). I conclude that the Possible Worlds model that I have developed is rigorous and can be replicated to analyse all fiction in general and counterfactual historical fiction in particular.
5
Laurie, Henri De Guise. "Transferentiality :|bmapping the margins of postmodern fiction / H. de G. Laurie." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9670.
Full textAbstract:
This thesis starts from the observation that, while it is common for commentators to divide postmodern fiction into two general fields – one experimental and anti-mimetic, the other cautiously mimetic, there remains a fairly significant field of postmodern texts that use largely mimetic approaches but represent worlds that are categorically distinct from actuality. This third group is even more pronounced if popular culture and “commercial” fiction, in particular sf and fantasy, are taken into account. Additionally, the third category has the interesting characteristic that the texts within this group very often generate unusual loyalty among its fans.
Based on a renewed investigation of the main genre critics in postmodern fiction, the first chapter suggests a tripartite division of postmodern fiction, into formalist, metamimetic, and transreferetial texts. These are provisionally circumscribed by their reference worlds: formalist fiction attempts to derail its own capacity for presenting a world; metamimetic fiction presents mediated versions of worlds closely reminiscent of actuality; and transreferential fiction sets its narrative in worlds that are experienced as such, but are clearly distinct from actuality.
If transreferential fiction deals with alternate worlds, it also very often relies on the reader’s immersion in the fictional world to provide unique, often subversive, fictional experiences. This process can be identified as the exploration of the fictional world, and it is very often guided so as to be experienced as a virtual reality of sorts.
If transreferential texts are experienced as interactive in this sense, it is likely that they convey experiences and insights in ways different from either of the other two strands of postmodern fiction.
In order to investigate the interactive experience provided by these texts, an extended conceptual and analytical set is proposed, rooted primarily in Ricoeurian hermeutics and possible-worlds theory. These two main theoretical approaches approximately correspond to the temporal and the spatial dimensions of texts, respectively. Much of the power of these texts rooted in the care they take to guide the reader through their fictional worlds and the experiences offered by the narrative, often at the hand of fictioninternal ‘guides’.
These theoretical approaches are supplement by sf theoretical research and by Aleid Fokkema’s study of postmodern character.
Chapters 3, 4, and 5 apply the theoretical toolset to three paradigmatic transreferential texts: sf New Wave author M John Harrison’s Viriconium sequence; Gibson’s Sprawl trilogy; and Jeff Noon’s Vurt and Pollen, texts that have much in common with cyberpunk but which make much more extensive use of formalist techniques. Each chapter has a slightly different main focus, matching the text in question, respectively: aesthetic parameters and worldcreation strategies of transreferential fiction; close “guidance” of the reader and extrapolation; and virtual reality and identity games.
The final chapter presents the findings from the research conducted in the initial study. The findings stem from the central insight that transreferential texts deploy a powerful suit of mimetic strategies to maximise immersion, but simultaneously introduce a variety of interactive strategies. Transreferential fiction balances immersion against interactivity, often by selectively maximising the mimesis of some elements while allowing others to be presented through formalist strategies, which requires a reading mode that is simultaneously immersive and open to challenging propositions. A significant implication of this for critical studies – both literary and sf – is that the Barthesian formalist reading model is insufficient to deal with transreferential texts. Rather, texts like these demand a layered reading approach which facilitates immersion on a first reading and supplements it critically on a second.
The final chapter further considers how widely and in what forms the themes and strategies found in the preceding chapters recur in other texts from the proposed transreferential supergenre, including sf, magic realist and limitpostmodernist texts.Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.
6
Cristofari, Cécile. "Cosmogonies imaginaires : les mondes secondaires dans la science-fiction et la fantasy anglophones, de 1929 à nos jours." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3030.
Full textAbstract:
J'ai voulu étudier un phénomène qui sous-tend l'écriture de la littérature spéculative (science-fiction et fantasy) aujourd'hui : la création d'un « monde secondaire », selon l'expression de J.R.R. Tolkien. Deux problèmes se posaient de prime abord. Premièrement, l'ensemble culturel et éditorial que recouvre l'expression « littérature spéculative » est relativement flou, du fait des problèmes de délimitation des genres et de la problématique culturelle plus générale (la littérature spéculative est-elle définie par des motifs littéraires, ou par l'appareil culturel qui l'entoure ?). Deuxièmement, un « monde secondaire » est-il uniquement un univers inventé entièrement différent ou détaché du monde réel, ou peut-il recouper le monde réel, etc. ? La littérature spéculative étant un genre foisonnant et en pleine évolution, j'ai pris le parti de ne pas donner de réponses définitives. Plutôt que de tenter de tracer des frontières, j'ai cherché à mettre en évidence les différents éléments dont se constituent les mondes secondaires : les traditions du genre sur lesquels les auteurs s'appuient pour transmettre la vision d'un univers original à leurs lecteurs, entre mise en avant de l'originalité et utilisation d'éléments connus comme soubassement, ainsi que la vision particulière de l'histoire, de la géographie et de la place de l'humanité dans le monde que les auteurs développent. Cette réflexion se veut située à la fois en amont et en aval de l'acte d'écriture. Elle se conclut sur les questions qui se posent aux auteurs contemporains : questions de renouvellement du genre, ou d'ouverture sur les autres médias, en particulier ceux que pratiquent les amateursI endeavoured to study a phenomenon underlying contemporary speculative fiction (science fiction and fantasy): the creation of a ‘secondary world', to use J.R.R. Tolkien's phrasing. I had to solve two preliminary problems. First, the cultural and economic phenomenon that speculative fiction represents has a blurry outline, questions regarding genre delimitation and wider cultural problems (is speculative fiction defined only by a number of literary patterns, or by the whole cultural apparatus that goes with it?) being difficult to answer. Secondly, does the notion secondary worlds only apply to invented worlds that are entirely different or detached from the real world, or can it be applied to texts that take place at least partly in the real world, etc.? Speculative fiction being a diverse genre that has been steadily evolving for years, I have chosen to avoid giving definitive answers to those questions. Instead of looking for boundaries, I have tried to emphasise the various building blocks of secondary worlds in speculative fiction: the traditions of the genre authors rely on to convey their view of an original universe to their readers, in a dialogue between known elements used as a foundation and the idiosyncratic view of history, geography and the place of mankind in the particular secondary world developed by the author. In an attempt to open this study to the contemporary practice of world-building, I have concluded with the questions that speculative fiction authors face today: how to renew the tropes of the genre, how speculative fiction pervades other media, in particular the practices of fans
7
Ascarate, Coronel Luz Maria. "Psyché ranimée. Imagination et émancipation dans la philosophie de Paul Ricœur." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0063.
Full textAbstract:
Nous identifions la contribution de l’anthropologie phénoménologique de Ricœur à la philosophie sociale, sous la double perspective de l’imagination et de l’émancipation, afin de répondre aux défis du temps de la crise du sens, crise qui se manifeste comme une perte des fondements. Au regard des analyses de Ricœur sur l’imagination, dont nombre d’entre elles restent encore non publiées, nous pensons comme suit : la phénoménologie de la fiction de Paul Ricœur contribue à penser l’expérience du sujet comme le fondement de l’imaginaire social du point de vue constitutif. De cette manière, nous comprenons l’anthropologie phénoménologique de Ricœur en tant orientée vers un projet d’émancipation.Notre conviction est que cette philosophie ricœurienne développée spécifiquement dans les années 70’s peut répondre aux problèmes que la crise du sens impose, d’abord à la tâche de fondation de la philosophie et, ensuite, au monde social. Ce n’est pas hasardeux que Ricœur ait consacré dans cette époque un cycle de conférences à l’imaginaire sociale, publiés sous le célèbre titre de Lectures on Ideology and Utopia, en même temps que ses Lectures on Imagination. Celles-ci qui restent inédites développent sa phénoménologie de la fiction en tant que philosophie générale qui propose une ontologie du possible.Notre thèse est que cette ontologie permettrait de donner des fondements au social d’un caractère entièrement sui generis, différents de ceux de la philosophie politique. Cette dernière est notamment accusée, par la philosophie sociale, de ne pas rendre assez compte de la dimension constitutive ou ontologique du monde social, dans lequel il existe des enjeux plus profonds que ceux relevés par la critique de la domination envisagée par la philosophie politiqueWe identify the contribution of Ricoeur's phenomenological anthropology to social philosophy, from the dual perspective of imagination and emancipation, in order to respond to the challenges of the time of the crisis of meaning, a crisis that manifests itself as a loss of foundations. With regard to Ricoeur's analyses of imagination, many of which are still unpublished, we think as follows: the Paul Ricoeur's phenomenology of fiction contributes to think the subject's experience as the foundation of the social imagination from a constitutive point of view. In this way, we understand Ricoeur's phenomenological anthropology as oriented towards an emancipation project.We are convinced that this Ricoeurian philosophy, developed specifically in the 1970s, can respond to the problems that the crisis of meaning imposes, first on the task of founding philosophy and then on the social world. It is no coincidence that Ricoeur devoted a series of lectures at that time to the social imagination, published under the famous title of Lectures on Ideology and Utopia, at the same time as his Lectures on Imagination. These that remain unpublished develop its phenomenology of fiction as a general philosophy that proposes an ontology of the possible.Our thesis is that this ontology would make it possible to give foundations to the social of an entirely sui generis character, different from those of political philosophy. The latter is accused, in particular, by social philosophy, of not sufficiently reflecting the constitutive or ontological dimension of the social world, in which there are more profound issues than those raised by the criticism of the domination envisaged by political philosophy
Books on the topic "Fiction theory – Possible worl"
1
Pilyasova, Olimpiada, and Yuliya Smirnova. Children's literature: theory and practice of expressive reading. ru: INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1864380.
Full textAbstract:
The textbook covers theoretical and applied issues of teaching children to read literature based on the material of works of Russian and foreign literature, including folklore. The content of the book introduces the reader to the world of children's literature, introduces the genre features of the works of the circle of children's readers and the most famous authors.
The publication is a workshop on expressive reading, which is one of the components of students' speech training. The book recreates the world of writers primarily through the word and a kind of artistic thinking. Numerous quotations from works of fiction fulfill this task.
The textbook describes the stages of development of genres of oral folk art: fairy tales, songs, jokes. Examples with distinctive features of "Christian fantasy" and "occult fantasy" are given. The works of Russian poets are briefly described: K.I. Chukovsky, V.A. Zhukovsky, A.S. Pushkin and other authors.
The content of the manual meets the requirements of the federal state educational standards of secondary vocational education of the latest generation.
The publication is distinguished by the completeness of the presentation of educational material as much as possible in the textbook, a high scientific and theoretical level and is intended for students of secondary vocational education, high school students and anyone interested in the history of world literature.
3
Raghunath, Riyukta. Possible Worlds Theory and Counterfactual Historical Fiction. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3.
Full text
4
Ryan, Marie-Laure. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press, 1991.
Find full text
5
Forest, Philippe. Le roman, le réel: Un roman, est-il encore possible? Saint-Sébastien-sur-Loire: Pleins Feux, 1999.
Find full text
7
McGregor, Rafe. A Criminology Of Narrative Fiction. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208054.001.0001.
Full textAbstract:
This book answers the question of the usefulness of criminological fiction. Criminological fiction is fiction that can provide an explanation of the causes of crime or social harm and could, in consequence, contribute to the development of crime or social harm reduction policies. The book argues that criminological fiction can provide at least the following three types of criminological knowledge: (1) phenomenological, i.e. representing what certain experiences are like; (2) counterfactual, i.e. representing possible but non-existent situations; and (3) mimetic, i.e. representing everyday reality in detail and with accuracy. The book employs the phenomenological, counterfactual, and mimetic values of fiction to establish a theory of the criminological value of narrative fiction. It begins with a critical analysis of current work in narrative criminology and current criminological work on fiction. It then demonstrates the phenomenological, counterfactual, and mimetic values of narrative fiction using case studies from fictional novels, graphic novels, television series, and feature films. The argument concludes with an explanation of the relationship between the aetiological and pedagogic values of narrative fiction, focusing on cinematic fictions in virtue of the vast audiences they reach courtesy of their place in global popular culture.
8
Ronen, Ruth. Possible Worlds in Literary Theory (Literature, Culture, Theory). Cambridge University Press, 1994.
Find full text
10
Ronen, Ruth. Possible Worlds in Literary Theory. Cambridge University Press, 2009.
Find full textBook chapters on the topic "Fiction theory – Possible worl"
1
Raghunath, Riyukta. "The Dystopian Counterfactual World and Unreliable Narration in The Sound of His Horn." In Possible Worlds Theory and Counterfactual Historical Fiction, 149–79. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_6.
Full text
2
Bell, Alice. "Theory: Hypertext Fiction and the Significance of Worlds." In The Possible Worlds of Hypertext Fiction, 10–27. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_2.
Full text
3
Raghunath, Riyukta. "Redefining Counterpart Theory and Transworld Identity." In Possible Worlds Theory and Counterfactual Historical Fiction, 91–120. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_4.
Full text
4
Raghunath, Riyukta. "Introduction: The Genre of Counterfactual Historical Fiction." In Possible Worlds Theory and Counterfactual Historical Fiction, 1–26. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_1.
Full text
5
Raghunath, Riyukta. "Possible Worlds Theory: History, Approaches, and Its Relevance to Counterfactual Historical Fiction." In Possible Worlds Theory and Counterfactual Historical Fiction, 27–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_2.
Full text
6
Raghunath, Riyukta. "New Additions to Possible Worlds Theory: Reader Knowledge Worlds, Ontological Superimposition, and Reciprocal Feedback." In Possible Worlds Theory and Counterfactual Historical Fiction, 47–89. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_3.
Full text
7
Raghunath, Riyukta. "The Complex and Mixed Ontology of Fatherland." In Possible Worlds Theory and Counterfactual Historical Fiction, 121–47. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_5.
Full text
8
Raghunath, Riyukta. "Multiple Textual Actual Worlds and Contradictions in Making History." In Possible Worlds Theory and Counterfactual Historical Fiction, 181–200. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_7.
Full text
9
Raghunath, Riyukta. "Conclusion and Future Research Recommendations." In Possible Worlds Theory and Counterfactual Historical Fiction, 201–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_8.
Full text
10
Tomin, Brittany, and Ryan B. Collis. "Science Fiction, Speculative Pedagogy, and Critical Hope: Counternarratives for/of the Future." In Palgrave Studies in Education and the Environment, 247–65. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35430-4_14.
Full textAbstract:
AbstractIn times characterized by pervasive future narratives—technological utopianism, dystopian annihilation, neoliberal “progress”—and simultaneous, all-consuming eco-anxiety, how the future is addressed in schools is critically important as we navigate our complex relationship with the “Anthropocene” in education. In this chapter, we problematize restrictive curricular and pedagogical visions of possibility and, as an alternative, position science fiction and speculative storytelling as genres that offer pedagogical frameworks through which educators may center collective, speculative, complex narratives of the future that open up—instead of foreclose upon—possible paths forward and ways of engaging with the present. Grounded in genre studies, futures studies, and science and technology studies, as well as in speculative world building work conducted with secondary students, this chapter accordingly outlines the contours of speculative pedagogy. Speculative pedagogy is framed in this chapter as an approach that embraces and explores collective, open futures; centers interdisciplinarity as a central means through which we can come to envision complex future possibilities with students; prioritizes dismantling singular narratives of possibility and the future; and mobilizes science fictional and speculative storytelling modes to grapple with uncertainty and resist mastery as educators examine critical social, technological, scientific, and existential issues alongside their students.
Conference papers on the topic "Fiction theory – Possible worl"
1
Clemente, Violeta, and Fátima Pombo. "From Utopia to Dystopia: Students Insights for the Development of Contemporary Societies through Design Fiction." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001421.
Full textAbstract:
This work describes an educational experience exploring the speculative essence of Design Fiction as a pedagogical tool to promote engineering students’ thinking skills within a Design Thinking course. The experience took place at a Portuguese University during the academic year 2021/2022. Students were challenged to speculate about the future of contemporary societies by developing a Design Fiction Scenario around the themes of Sustainability, Future and Technology. After describing the approach adopted and overall data about the intervention, some selected students ideas are presented. Then, students’ written essays content is analyzed regarding their awareness, concerns and hopes about the future of contemporary societies. Results show that while some of the teams followed the direction of utopia, envisioning desirable scenarios to the future, other teams adopted a less optimistic view and designed scenarios where contemporary societies and technology would lead to extreme situations or even chaos, a few of them even raising strong ethical issues. In some cases, it seems rather evident that students deliberately proceeded with these pessimistic scenarios intentionally trying to provoke reactions and stimulate debate among their peers. In other cases students appear to not be aware of those possible dangerous outcomes. Finally we discuss the value and limitations of our approach and conclude by suggesting some guidelines to apply in future interventions aiming to the role of Design as discipline in creating utopian and dystopian fictions regarding scenarios of future development.
2
Sjölinder, Marie, and Jonas Söderberg. "Designing a Future City – Applying Design Fiction with High School Students." In 8th International Conference on Human Interaction and Emerging Technologies. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002723.
Full textAbstract:
This work was conducted in the framework of Viable Cites, which is a national strategic innovation program in Sweden with a focus on the change towards climate-neutral and sustainable cities. Viable Cities is catalyst for new ways of collaboration between cities, industry, academia, research institutes and the civil society. The overall goal is to provide support to the cities to convert to a way in line with national and international climate goals. The work described in this paper was one project within this framework. The project consisted of the City of Enköping, RISE Research Institute of Sweden and Europan with is an Pan-European architect organization witch organise a biennial competition for young architects. As a part of this project, a collaboration was conducted together with Westerlundska gymnasiet, a high school in Enköping. The overall goal was to engage young people, and to get their ideas about how to achieve a sustainable environment and to develop sustainable products and services. It is this group that both will be forced to handle the decisions that are made today, and they are also the generation that knows best how the want to live their lives in the future. The aim with this work was both to get ideas and suggestions from high school students about how they wanted their future city to be designed, and to explore how high school students could apply and use the method “Design Fiction” when conducting work with designing future cities.According to Bleeker (2009), Design Fiction is a mix of science fact, design and science fiction. It combines the traditions of writing and story telling with the material crafting of objects. It is a creative process that encourages human imagination and give support in telling stories that provoke and raise questions (Bleeker, 2009). Design Fiction is a method to explore future possible scenarios or contexts. A concept could be described in several ways by using narratives and prototypes. The story can be told and the concept can be visualized in many different ways (Wakkary et al, 2013).In the project there were about 20 students from the school’s technology program. They had all chosen architecture as their special focus during their last year. The students both participated in a Design Fiction workshop and organsied Design Fiction workshops themselves with first-year students as participants. Results from the workshops and insights related to the design process are presented in this paper.ReferencesBleecker, J. (2009). Design Fiction: A short essay on design, science fact and fiction. Near Future LaboratoryWakkary, R., Desjardins, A., Hauser, S., & Maestri, L. (2013). A Sustainable Design Fiction: Green Practices . ACM Transactions on Computer-Human Interaction, Vol. 20, No. 4, Article 23, Publication date: September 2013.
3
Dotta, Adriano Tolfo, Marcelo Resende Thielo, and Jean Felipe Patikowski Cheiran. "Use of a generative chatbot as a middleman to improve User Experience in Interactive Fiction games." In Anais Estendidos do Simpósio Brasileiro de Jogos e Entretenimento Digital. Sociedade Brasileira de Computação, 2023. http://dx.doi.org/10.5753/sbgames_estendido.2023.234160.
Full textAbstract:
In the 1970s and 1980s, interactive fiction games emerged and changed the gaming world by enabling players to talk to the machine, make their own decisions, choose their paths, and decide what to collect and do. This freedom captivated players, but at the time, games were limited by programmed scripts that only accepted words present in the game’s code dictionary in a limited format, usually two or three keywords by phrase. However, technological advances have paved the way for improvements in this regard, replacing scripts with artificial intelligence using APIs, such as ChatGPT, for example. Thus, it may be possible to offer players an even more natural and customized experience, where each decision is more flexible with the player’s writing style. In this work, we carried out a communication experiment with the ChatGPT as an intermediary for interactive fiction games and the Frotz game interpreter (a modified version of the Z-Machine interpreter) to assess the feasibility of the approach.
4
Vergoossen, Rob. "Towards 2222, science fiction or an educated guess for the design of bridges?" In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0215.
Full textAbstract:
<p>About 200 years ago the first railroad bridges were build, followed almost 100 years later by bridges for cars and trucks. Since the first cars and trucks, traffic has changed. Up to now this change is mostly an increase in intensity and axle and gross vehicle weight of trucks. But soon mobility will change.</p><p>When designing a bridge for a lifespan of 200 years there are a lot of uncertainties to deal with.</p><p>Will there be more vehicles due to easier transport, or will there be less because of a reducing population, virtual reality and robotics? There are a lot of construction activities going on in the world, but when will this change and what is the impact on mobility and transportation? The innovation in technology will change the use of the transport, which will make it more efficient, but is this also efficient for bridges? And what will be the effect of renewable energies and reducing CO2 on the usage of bridges? A lot of unknowns and only future will tell us what exactly will happen.</p><p>In this paper we give some scenarios on possible changes in the near and far future and how this can possibly influence the way we design our bridges today.</p>
5
Zheng, Yi, and Arvind Narayanaswamy. "A First-Principles Method of Determining Van Der Waals Forces in a Dissipative Media." In ASME 2012 Third International Conference on Micro/Nanoscale Heat and Mass Transfer. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/mnhmt2012-75165.
Full textAbstract:
Lifshitz theory of van der Waals (vdW) force and energy is strictly valid when the location at which the stress tensor is calculated is in vacuum. Generalization of Lifshitz theory to the case when the stress tensor is to be calculated in a dissipative material, as opposed to vacuum, is a surprisingly difficult undertaking because there is no expression for the electromagnetic stress tensor in dissipative materials. Here, we derive the expression for vdW force in planar dissipative media by calculating the Maxwell stress tensor in a fictious layer of vacuum, that is eventually made to vanish, introduced in the structure, without employing the complicated quantum field theoretic method proposed by Dzyaloshinskii, Lifshitz, and Pitaevskii. Even though this work has proven to be a corroboration of Dzyaloshinskii et al., it has thrown new light on our understanding of vdW forces and suggests that it should be possible to achieve the similar result for objects with arbitrary shapes.
6
D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.
Full textAbstract:
When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.
7
Grosu, Corina, and Marta Grosu. "THE CHEMICAL CLOUD." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-128.
Full textAbstract:
The present paper contains the presentation of a new adventure educational game targeting Environmental Chemistry students. The game is supposed to attract students towards discovering the applications of Mathematics wrapped in a youth-friendly and exciting fictional environment. The game is conceived in such a way that by playing it the students' comprehension of Mathematical notions pertaining to the Environmental Chemistry field is verified and tested. All the components (the scenario, the mission, the artifacts and the game's levels) are designed to prepare the students for recognizing possible statistical models to be used in observing, analyzing and deciding for the best politics to be used against real-life environmental destruction. Actually the game is designed to be attractive and captivating by its own rules and this was achieved by creating the components with advanced 3d technology such as Autodesk 3ds Max and Smith Micro Poser, while the game engine uses the powerful engine of Unity 3d. The main objective of our work is to use game strategies to teach students from Environmental Chemistry how to integrate the Mathematical notions taught during the first and second university year into their daily work and, even more important, how to modify and adapt theoretical models to real day problems in such a way that the analysis of the results should contribute to the actual change of input data. In fact, the game shows students how to use the strong Monte Carlo method for modifying input data. This form of test and evaluation is intended to improve students' capacity to move from theory to practice and vice versa.
8
Vidali, Maria. "Liminality, Metaphor and Place in the Farming Landscape of Tinos: The Village of Kampos." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-6.
Full textAbstract:
This research explores the farming landscape and village life in Kampos, a village on the Greek island of Tinos. Tinos is an Aegean island with a long history of agriculture. In Kampos, one of the oldest farming villages of Tinos, boundaries created by low stone walls and alleyways primarily define the farming landscape that permeates village life and its structure. The landscape appears semi-artificial, given the construction of countless rows of cultivation ridges and terraces. Boundaries on the island appear through texts, space, movement and habit, thus creating. a series of liminal spaces. They represent areas – or rather situations – allowing for multiple co-existing levels of interaction, which are both ambiguous and can be transformed through negotiation. Negotiation would not be possible without language and narrative: Language arises through communal metaphors, stories, and fictional beliefs that bind and connect a small community together in a farming landscape, a community that has retained a quality of life closely connected to nature, architecture, and private and public realms, all by exhibiting features that can be found in a contemporary way of living. Objectified and non-objectifiable boundaries – in relation to the villagers’ land, water, private and public spaces –, their absence, their negotiation, the life that flourishes in-between them, and their relationship to men and women, ownership, and bonding, are important aspects examined in research. The presence, the lack of, and the negotiation of these boundaries, all unfold through fictional stories, narratives and interviews of villagers from Kampos. Through these narratives, I argue that when boundaries are obscure or create an in-between space of negotiation and communication, when they become a liminal space, then a different situation of ownership and bonding arises. Here, the villagers claim their properties’ boundaries, and negotiate these and sometimes fall into conflicts. Conducting this research, I determined that stories created from the villager’s life, space, and landscape consist of a series of metaphors that define ‘dwelling’ in this part of the world, in this specific landscape, which has a contemporary way of living, but still connected with tradition and the past as an action mimetic of the present.
9
Manuel Figueiredo, Carlos, Ana Rafaela Diogo, and Joana André Leite. "Adapting Jane Austen to the screen: fashion and costume in Autumn de Wilde’s movie "Emma"." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001538.
Full textAbstract:
The visual and behavioral codes prevalent in society at any given moment are part of its social conventions and constitute a framework that rules everyone´s image, dress and the attitudes that society not only tolerates but expects from them. However, it is unquestionable that despite the rigidity and formality imposed on personal appearance and manners, it is still possible to find some room to play with the possibilities afforded to people, albeit conditioned by their social status, so as to manage to express their inner self, mood, and even outlook on life, at any point in time. What is more, it is possible for an individual inserted in such a society to become the center around which everything revolves and trace a path to success, without necessarily trespassing any of the red lines drawn by society's norms. In her novels, Jane Austen chose as protagonists middle to upper class young women that stand out by managing to, in the limited scope of action afforded to them, work society in their favour so as to achieve their perceived notions of fulfillment and personal happiness. Based on one of Austen's novels Emma, and its 2020 movie adaptation directed by Autumn de Wilde, we will assess how Alexandra Byrne’s costumes work in relation to the aesthetics of Emma’s world and surroundings. As well as investigate how they showcase, are impacted and can even be read as symbolic representations of the course of her life, evolution and relationships in this movie, which is considered to be particularly faithful to the novel.Keeping this in mind, we will analyse several scenes that are key both in terms of the plot and the costumes of the main character—Emma. This analysis will consider filmic and design notions of characters, narrative and space, as well as their construction and representation. It will focus on questions of storytelling regarding how the viewer is informed about Emma’s personality and mood, as well as capable of feeling her emotions, in the key events of the plot. As well as try to answer why and how Emma and her costumes remain the main focus in almost every shot of the movie, and how components such as the fictional space, its framing and composition are always in relation and dependent on her and her portrayal.Despite this movie being Autumn de Wilde’s debut, her mastery of notions of visual hierarchies, aesthetics and cinematic techniques that keep Emma highlighted and the focus of the action at all times, in the foreground of the shot, is undeniable. This translates to impeccably shot spaces that are completely in tune with the costumes, providing a sense of ease or contrast to the characters' relation to the space, further highlighting the subjects in the main action.In such an aesthetically developed piece, it is then also unavoidable that Emma’s every interaction and the development of her relationships will have a direct impact on her inner image, and therefore her outer image, affecting her relation and attachments to her costumes.
10
Zhu, Jun, Wei Zhang, Qijun Zeng, Zhenxing Liu, Jiayi Liu, Junchen Liu, Fengxia Zhang, Yu He, and Ruochen Xia. "A Novel Solution on Integration of Engineering and Geology." In SPE/IADC Middle East Drilling Technology Conference and Exhibition. SPE, 2023. http://dx.doi.org/10.2118/214625-ms.
Full textAbstract:
Abstract In the past decade, the operators and service companies are seeking an integration solution which combines engineering and geology. Since our drilling wells are becoming much more challenging than ever before, it requires the office engineer not only understanding well construction knowledge but also need learn more about geology to help them address the unexpected scenarios may happen to the wells. Then a novel solution should be provided to help engineers understanding their wells better and easier in engineering and geology aspects. The digital twin technology is used to generate a suppositional subsurface world which contains downhole schematic and nearby formation characteristics. This world is described in 3D modelling engineers could read all the information they need after dealt with a unique algorithm engine. In this digital twin subsurface world, the engineering information like well trajectory, casing program, BHA (bottom hole assembly) status, are combined with geology data like formation lithology, layer distribution and coring samples. Both drilling or completion engineers and geologist could get an intuitive awareness of current downhole scenarios and discuss in a more efficient way. The system has been deployed in a major operator in China this year and received lot of valuable feedback from end user. First of all, the system brings solid benefits to operator's supervisors and engineers to help them relate the engineering challenges with according geology information, in this way the judgement and decision are made more reliable and efficiently, also the solution or proposal could be provided more targeted and available. Beyond, the geology information from nearby wells in digital twin modelling could also provide an intuitional navigation or guidance to under-constructed wells avoid any possible tough layers via adjusting drilling parameters. This digital twin system breaks the barrier between well construction engineers and geologists, revealing a fictive downhole world which is based on the knowledge and insight of our industry, providing the engineers necessary information to support their judgement and assumption at very first time when they meet downhole problems. For example, drilling engineers would pay extra attention to control the ROP (rate of penetration) while drilling ahead to fault layer at the first time it is displayed in digital twin system, which prevent potential downhole accident and avoid related NPT (non-production time). The integration of engineering and geology is a must-do task for operators and service companies to improve their performance and reduce downhole risks. Also, it provides an interdisciplinary information to end user for their better awareness and understanding of their downhole asset. Not only help to avoid some possible downhole risks but also benefit on preventing damage reservoir by optimizing the well construction parameters.